How to Make a Noise: Analog Synthesis

Description

Front Cover; Copyright; About the Author; Connect and Keep Up-to-Date; Table of Contents; Introduction; Understanding Synthesis; Analog Synthesis; Frequency Modulation Synthesis; Sample-Based Synthesis; The Featured Synthesizers; Twin 2; Massive; Format of this Book; Navigating this Book; Chapter 1: Getting Started with Synthesis; Synthesizer Sound Architecture; Architecture of the Featured Synthesizers; Twin Architecture; Massive Architecture; Examining the Elements; Chapter 2: Sound Sources; Basic Wave Shapes; Sawtooth Wave; Square and Pulse Waves; Sine Wave; Triangle Wave; Noise.;How to Make a Noise: Analog Synthesis looks at creating sounds using analog synthesis techniques. Analog synthesis works by taking a sound source and shaping it with a filter. This is a simple but powerful technique which allows you to create the warm, rich, energetic, and commanding sounds, and with some care you will find tones with detail, c. Front Cover Copyright About the Author Connect and Keep Up-to-Date Table of Contents Introduction Understanding Synthesis Analog Synthesis Frequency Modulation Synthesis Sample-Based Synthesis The Featured Synthesizers Twin 2 Massive Format of this Book Navigating this Book Chapter 1: Getting Started with Synthesis Synthesizer Sound Architecture Architecture of the Featured Synthesizers Twin Architecture Massive Architecture Examining the Elements Chapter 2: Sound Sources Basic Wave Shapes Sawtooth Wave Square and Pulse Waves Sine Wave Triangle Wave Noise. Complex Wave Shapes and VariationsCombining Sounds Doubling Oscillators Layering Oscillators Layering Sounds Hard Syncing Oscillators Combining Waves in Practice: Creating New Tones Raw Waves Doubled/Layered Wave, Same Octave Layered Waves, Different Pitches Combining Waves: In Summary Starting to Shape Chapter 3: Filters Filter Parameters Cut-Off Frequency Resonance Filters on the Featured Synthesizers Filters in Twin Filters in Massive Signal Flow through the Filters Filter Types Low-Pass High-Pass Band-Pass Notch Comb Filters Filter Slopes. Using Filters in PracticeControlling Filter Cut-Off Filter as a Volume Control Key Tracking and Filters Controlling Resonance Adding Some Animation Chapter 4: Making the Sound Dance Modulation: The Concept Modulation in the Real World Effect of Velocity on a Sound Effect of Pitch on a Sound Effect of Time on a Sound Combining the Effect of Velocity, Pitch, and Time Modulation Destinations Volume Filter Pitch Vibrato Speed Pulse-Width Pan FX Wavetable Position Envelope Speed Modulation Sources Velocity Pitch Bender Modulation Wheel Key Tracking X-Y Controllers. AftertouchExpression Pedal MIDI Control Change Setting Up Modulations Controlling the Parameters with Hardware and Automation MIDI Learn Automation More Modulation Sources Chapter 5: Envelopes Volume Envelopes What Else Can Envelopes Do? AD Envelopes ADSR Envelopes Twin Envelopes Massive Envelopes Key Tracking and Envelopes More Specialized Modulation Sources Chapter 6: LFOs and Specialized Modulation Sources Main LFO Controls Wave Shape Frequency Depth Sync Phase Monophonic/Polyphonic LFOs Wacky Waveforms Twin LFO Balance Twin Hand-Drawn LFOs. Morphing LFOs in MassiveSpecialized Modulation Sources Stepper Performer Now Polish!! Chapter 7: FX Deployment of FX Insert FX Master FX Send FX Distortion Old School Overdrive Analog-Emulating Distortion Digital Distortion Compression EQ Filter Modulated Delay Effects Phaser/Flanger Chorus Modulation Effects with Twin A General Word of Caution about all Modulation Effects Delay Mono Delay Stereo Delay Cross Delay Common Delay Controls Using Delay Lines Reverb Using FX in Your Own Sounds Chapter 8: Sculpting Sounds with Synthesizers Main Food Groups Brightness.